All Metallica Songs Ranked

This is NOT my Ranking

This is from Loudwire.com.
Again.

This is NOT my Ranking

Were it my list, "The Frayed Ends of Sanity" & "Dyer's Eve" would be ranked closer to the top than they are in this list...

All Metallica Songs Ranked

115. Suicide & Redemption - 'Death Magnetic' (2008)
The greatest achievement of ‘Death Magnetic’ was that it re-established Metallica as proud members of the metal fraternity. But it also conclusively exposed the band’s ongoing inability to edit their own material. A flatulent and directionless instrumental that seems to last for a full decade, “Suicide and Redemption” is a waste of everyone’s time that belongs on the cutting room floor. (DL)
114. Lords of Summer - Single (2014)
Constructed using riffs that wouldn’t have been allowed anywhere near any of Metallica’s first five albums, “Lords Of Summer” was so shambolic that many fans feared the worst for the band’s impending tenth album. As it turned out, ‘Hardwired… To Self-Destruct’ had a lot of killer songs, which makes this limping, death-fart of a song even more inexplicable. (DL)
113. Don't Tread on Me - 'Metallica' (1991)
It was surprising to hear Metallica go from complex, proggy songs on ‘...And Justice For All,’ to stripped-down AC/DC-inspired hard rock jams on ‘Metallica.’ But it was even more jarring to hear James Hetfield’s lyrical perspective change so dramatically from one album to the next. The guy who wrote a few songs that were widely interpreted as “anti-war” (“One,” “Disposable Heroes”) singing “To secure peace is to prepare for war” was one thing. Wars are, at times, unavoidable. But to move from lyrics that blasted the government (“Justice is lost/Justice is raped/Justice is gone/Pulling your strings/Justice is done”) to this song’s ultimatum of critics of the USA: “Love it or leave it,” that was a shock. And the music - which borrows a quote from Stephen Sondheim and Leonard Bernstein's "America" from 'West Side Story' - isn't as strong as the better songs on the LP. On ‘The Black Album,’ Metallica (like everyone else in the early '90s) were making albums with compact discs in mind, not LPs or cassettes; as a result, albums were getting way longer. While there was scarcely any fat at all on the first four albums, ‘Metallica’ began to drag. This is one of the songs they could have dropped to make a tighter album. (BI)
112. Of Wolf and Man - 'Metallica' (1991)
It’s hard to pull off a song about wolves, if your name isn’t Ronnie James Dio. Of Wolf And Man” shows Hetfield’s enthusiasm for hunting, but lyrics like “Shape shift/Nose to the wind/Shape shift/Feeling I've been/Move swift/All senses clean/Earth's gift/Back to the meaning of life” are kinda new agey. (BI)
111. The Shortest Straw - '...And Justice for All' (1988)
There’s something gloriously effortless about the way Metallica were churning out ageless riffs by the time they made ‘...And Justice For All.’ “The Shortest Straw” is unlikely to be many people’s favourite track on the album. (DL)
110. The Judas Kiss - 'Death Magnetic' (2008)
Metalheads’ delight at Metallica’s apparent return to form was understandable, but ‘Death Magnetic’ remains a decent album that could have been edited down to a much better one. Case in point: the otherwise rugged and commanding “The Judas Kiss” outstays its welcome by several minutes. (DL)
109. Fuel - 'ReLoad' (1997)
James Hetfield loves cars; we know this. He curated a pretty awesome car show at Metallica’s first Orion Music + More Festival in Atlantic City, New Jersey, in June of 2012. He also expressed his enthusiasm in “Fuel,” a song with a fun meme-inspiring jibber-jabber vocal intro. (BI)
108. Hell and Back - 'Beyond Magnetic (2011)
Another classic Hetfield riff, albeit one that is eerily reminiscent of several others, and a juddering, syncopated rhythmic hook collide on this ‘Beyond Magnetic’ cut. Again, you may question how this ended up on a stopgap EP in favour of aimless waffle like “Suicide and Redemption,” but that’s showbiz. (DL)
107. Attitude - 'ReLoad' (1997)
One major problem with the glut of new material spread across ‘Load’ and ‘Reload’ is that many of the songs share the exact same tempo and vibe. Attitude” was never going to stand out, even amongst the patchy splurge of ‘Reload,’ and it remains a nondescript filler track.(DL)
106. Purify - 'St. Anger' (2003)
A belligerent companion piece to the equally gnarly “Dirty Window,” “Purify” is a mess of churning riffs and rhythmic tics that just about holds together. James Hetfield has never sounded more unhinged. (DL)
105. Prince Charming - 'ReLoad' (1997)
Sadly not a cover of Adam & The Ants’ 1981 smash hit, “Prince Charming” took Metallica back to the raucous New Wave Of British Heavy Metal vibes that were so integral to the band’s development. Faster than most of ‘Reload,’ it added some vigor to an album that did much more plodding than raging. (DL)
104. The Unnamed Feeling - 'St. Anger' (2003)
Inexplicably released as a single, “The Unnamed Feeling” offers a strange mixture of sharp ideas and aimless twaddle, as if Metallica’s compositional jigsaw had been put together in a rush. That “I die a little more...” hook is a good one, though. (DL)
103. Sweet Amber - 'St. Anger' (2003)
“Sweet Amber” feels less disjointed and more convincing than much of ‘St. Anger.’ Woeful production values aside, its turbo-charged stomp and laconic chorus nearly make up for the scattershot nature of Hetfield’s lyrics. (BI)
102. Bad Seed - 'ReLoad' (1997)
Another song that heralded Metallica’s kinship with ‘Deliverance’-era Corrosion Of Conformity, “Bad Seed” has weathered better than most of ‘Reload’; its jagged, strutting central riff and Hetfield’s rowdy vocal setting it apart from some of its less dynamic compatriots. (DL)
101. Shoot Me Again - 'St. Anger' (2003)
Of all the controversies around ‘St. Anger,’ the absence of guitar solos remains the most unfathomable decision Metallica made at the time. Shoot Me Again” is crying out for an explosive lead break, if only to distract from the worrisome nu-metal lurch of Hetfield’s “Shoot me again, I ain’t dead yet...” refrain. (DL)
100. The Unforgiven III - 'Death Magnetic' (2008)
Sequels to sequels are usually even worse than sequels. The Unforgiven III” isn’t so bad -- it’s better than, say, ‘The Godfather III,’ or ‘Halloween III.’ But, really, Metallica should have just left “The Unforgiven” alone. (BI)
99. Slither - 'ReLoad' (1997)
Not to be confused with the Velvet Revolver anthem of the same name, or indeed with anything you’d regard as an anthem, “Slither” is another slab of decent but unremarkable post-grunge rockola that is unlikely to turn up on any “best of” Metallica playlists. (DL)
98. Just a Bullet Away - 'Beyond Magnetic (2011)
As with the majority of ‘Death Magnetic’ era songs, “Just A Bullet Away” would have benefited from losing a couple of minutes of stodge, but in every other respect it’s prowling, snarling post-Sabbath behemoth that could have made the main record. (DL)
97. Murder One - 'Hardwired... To Self-Destruct' (2016)
Their intentions were undoubtedly noble, but what possessed Metallica to pay tribute to Lemmy with a boring, doe-eyed dirge like this? The album’s title track would have been much more appropriate. Either way, this is the weakest track on ‘Hardwired… To Self-Destruct’ by some distance. (DL)
96. Am I Savage? - 'Hardwired... To Self-Destruct' (2016)
A downbeat moment that could have been omitted from ‘Hardwired… To Self-Destruct’. without anyone being overly upset, “Am I Savage?” has an air of ‘Load’-era grunginess and another strong whiff of Black Sabbath, but it’s an otherwise forgettable sprawl of fair-to-middling ideas. (DL)
95. My World - 'St. Anger' (2003)
Two parts heads-down groove-metal rager to three parts total shambles, “My World” features so much Ulrich snare-clanking that it’s hard to listen to. That said, at least it’s one of the more succinct songs on ‘St. Anger.’ (DL)
94. Better Than You - 'ReLoad' (1997)
In 1998, Metallica released this entirely forgettable chunk of mildly bluesy hard rock as a single. There is nothing particularly offensive about “Better Than You” and at least one of the riffs is a definite keeper, but has anyone ever whistled this in the shower? (DL)
93. Hate Train - 'Beyond Magnetic (2011)
A weirdly low-key release, ‘Beyond Magnetic’ inadvertently confirmed that ‘Death Magnetic’ could’ve been a little more succinct. The EP’s versatile but vicious opener comes close to the album’s best moments, but isn’t quite essential. (DL)
92. Invisible Kid - 'St. Anger' (2003)
The patchwork songwriting approach that Metallica took on ‘St. Anger’ was never going to result in a classic album, but it was the band’s inability to effectively self-edit that really did the damage. Invisible Kid” has some cool riffs and a decent hook or two, but at eight minutes it’s distinctly flabby. (DL)
91. Cyanide - 'Death Magnetic' (2008)
One of the great mysteries of our time is how “Cyanide” ended up as a staple of Metallica’s post-’Death Magnetic’ live sets. One of the album’s least memorable songs, it feels more like a collection of riffs designed to echo the imperious past than anything more anthemic or incisive. No one’s favourite Metallica song. (DL)
90. Devil's Dance - 'ReLoad' (1997)
Another largely uneventful mid-paced plod, “Devil’s Dance” is enjoyable enough in isolation, but it’s also highly symptomatic of the strong whiff of filler on ‘Reload.’ One popular pastime is to piece together a single, hour-long album from ‘Load’ and ‘Reload.’ You wouldn’t pick “Devil’s Dance,” would you? (DL)
89. Dirty Window - 'St. Anger' (2003)
Seemingly determined to reinvent themselves as a rowdy, alt-metal garage band, Metallica delivered songs like “Dirty Window” with a snotty abandon that they hadn’t mustered for the best part of two decades. Like at least half of ‘St. Anger,’ it’s much better than you may remember it. (DL)
88. Here Comes Revenge - 'Hardwired... To Self-Destruct' (2016)
An underrated highlight of the flawed second half of ‘Hardwired… To Self-Destruct,’ “Here Comes Revenge” feels like a partial upgrade for the glowering introspection of ‘St. Anger,’ coupled with the straight-ahead, heavy metal power of the ‘Black Album’ era. That main riff is a monster, incidentally. (DL)
87. Broken, Beat and Scarred - 'Death Magnetic' (2008)
Firmly rooted in the grand tradition of mid-paced Metallica bruisers, “Broken, Beat And Scarred” doesn’t quite hit the mark when compared to the rest of the album’s strongest moments. The repeated refrain of “What don’t kill you, make you more strong!” certainly doesn’t help – that phrase was beyond hackneyed by 2008 – but there are still a handful of killer riffs to be enjoyed. (DL)
86. The Unforgiven II - 'ReLoad' (1997)
Sequels are rarely a good idea, but Metallica managed to get away with this follow-up to “The Unforgiven” by sticking closely to the original’s vibe and chucking in a few gentle call-backs. Ultimately, however, “The Unforgiven II” is nowhere near as memorable as its predecessor. (DL)
85. Poor Twisted Me - 'Load' (1996)
With a dash of southern rock swagger, a faint hint of ZZ Top boogie and about as much authentic swing as Lars Ulrich could muster, “Poor Twisted Me” has its languorous blues-metal charms. It also sounds like it was more fun to play than it is to listen to. (DL)
84. Wasting My Hate - 'Load' (1996)
The notion that Metallica were stretching out creatively on ‘Load’ seems a bit silly in light of likeable but utterly straightforward fare like “Wasting My Hate.” Neither particularly memorable nor blessed with anything in the way of dynamics, it’s merely filler on an album that is undeniably too long. (DL)
83. The Memory Remains - 'ReLoad' (1997)
With the additional presence of legendary singer and Stones muse Marianne Faithfull, “The Memory Remains” swiftly became the most celebrated song on ‘Reload’: a hit single that brimmed with the kind of atmosphere and edge that much of the album sorely lacked. Faithfull’s tremulous vocal contribution was an inspired if slightly jarring curveball. (DL)
82. Rebel of Babylon - 'Beyond Magnetic (2011)
“Rebel Of Babylon” wraps up the ‘Death Magnetic’ era with something approaching haughty grandeur. Sudden shifts of feel and tempo are pulled off with vitality and skill amid an avalanche of scabrous riffs. Not a classic by any means, but this is good shit. (DL)
81. ManUNkind - 'Hardwired... To Self-Destruct' (2016)
Ignore the terrible title – a “see what we did there?” calamity of epic proportions – and focus the song: the central groove of “ManUNkind,” and its cunning changes of pace are cool enough and Hammett’s first solo is one to cherish, but this doesn’t come close to the brilliance of the album’s finest moments. (DL)
80. Through the Never - 'Metallica' (1991)
“Through The Never” bore traces of Metallica’s thrashier past, its core groove and rhythmic tricks linking it more closely to ‘...And Justice For All’ than anything else on ‘Metallica.’ The difference here was that only four minutes were required to hit the target. (DL)
79. The House Jack Built - 'Load' (1996)
Much was made of Metallica’s new image and change of musical direction on ‘Load,’ but it was James Hetfield’s evolution as a lyricist that was the album’s most startling revelation. An otherwise ponderous and plodding song, “The House That Jack Built” is saved by an impassioned and angst-ridden vocal from the frontman. (DL)
78. Where the Wild Things Are - 'ReLoad' (1997)
A rare co-writing credit for Jason Newsted, “Where The Wild Things Are” starts amid a haze of psychedelic wooziness before morphing into another red-blooded, hard rock stomp with definite shades of Alice In Chains – not a bad thing, clearly. Altogether now... Hand puppets storm the base!” (DL)
77. Hero of the Day - 'Load' (1996)
For many thrash purists, this mellifluous saunter into soft rock territory was their final straw with ‘Load.’. The truth is that “Hero Of The Day” is one of the most memorable songs on the record; its radio-friendly polish and gentle gait making it a genuine revelation, albeit one that divided opinion like no other. (DL)
76. Carpe Diem Baby - 'ReLoad' (1997)
A rare moment on ‘Reload’ where Metallica’s enthusiasm was matched by the quality of the material, “Carpe Diem Baby” adheres to the same formula that informed much of the album (and its predecessor, of course) but with greater verve, stronger melodies and a genuine sense of muscular melodrama. (DL)
75. Holier Than Thou - 'Metallica' (1991)
Hetfield’s lyrics seem to slam religion and gossip reporters at the same time. Who are you? Where ya been? Where ya from? Gossip burning on the tip of your tongue! You lie so much you believe yourself, judge not lest ye be judged yourself!” A good message, but the music wasn’t as powerful as it was on the album’s better moments. (BI)
74. Some Kind of Monster - 'St. Anger' (2003)
Definitely a double-edged sword, this one: “Some Kind Of Monster” is one of the most memorable songs on ‘St. Anger,’ but it’s also several minutes too long and rather more shambolic than most Metallica fans were accustomed to. That main riff is a beast, however. (DL)
73. Cure - 'Load' (1996)
Stoically rooted in the pulsing mid-pace that defined Metallica’s ‘90s output, “Cure” shares a few traces of DNA with earlier stompers like “Harvester Of Sorrow” and “Enter Sandman,” with a dash of The Cult thrown in for good measure. File under: good but not great. (DL)
72. Wherever I May Roam - 'Metallica' (1991)
As recognisable and reassuring as your own front door, “Wherever I May Roam” highlights the refinements that had taken place in Metallica’s songwriting process as the ‘90s dawned. Aside from accidentally predicting their own global dominance (“...the earth becomes my throne”), “Wherever I May Roam” hailed the band’s melodic prowess while still being properly heavy. (DL)
71. Halo on Fire - 'Hardwired... To Self-Destruct' (2016)
Further evidence that Metallica had rediscovered their collective metal mojo, “Halo On Fire” has evolved into a firm live favourite. A feast of shifting moods and crunching crescendos, but it probably didn’t need to be eight minutes long. (DL)
70. Thorn Within - 'Load' (1996)
Another dose of weary introspection from James Hetfield, this time accompanied by some rather perfunctory chugging. Thorn Within” is one of the heavier moments on ‘Load,’ but like many of its immediate neighbours, it lacks either a killer chorus or a single, defining moment that lingers in the memory... which isn’t very Metallica, is it? (DL)
69. Confusion - 'Hardwired... To Self-Destruct' (2016)
Very much a game of two halves, ‘Hardwired...To Self-Destruct’ starts brilliantly and then sags dramatically in the middle. Confusion” is a decent enough effort and certainly sounds huge and convincing, but isn’t as good as, say, “Atlas, Rise!” and “Moth Into Flame.” (DL)
68. All Within My Hands - 'St. Anger' (2003)
The last song on ‘St. Anger,’ it’s a significant song in the Metallica discography, as the band named their charitable foundation after it. On the other hand, it’s only been performed twice: both times at Neil Young’s mostly acoustic Bridge School Benefit concert on consecutive nights in October of 2007. The song has some of Hetfield’s most painful lyrics: “I'll fall if I let go/Control is love, love is control/I will only let you breathe/My air that you receive/Then we'll see if I let you love me/Kill! Kill! Kill! Kill! Kill!” Thankfully, he seems to have relaxed a bit (or a lot) since writing this song. (BI)
67. My Friend of Misery - 'Metallica' (1991)
The longest track on ‘Metallica’ and the only song to boast a co-writing credit for Jason Newsted, “My Friend Of Misery” contradicts the notion that Metallica were only interested in conquering the charts by 1991. Brooding, unsettling and darkly melodic, this is one of Hetfield’s rawest diatribes, one laden with poignancy and powered by giant riffs. (DL)
66. Ronnie - 'Load' (1996)
Driven along by an almost AC/DC-like strut and with shades of ‘Stormbringer’-era Deep Purple, “Ronnie” is an exercise in gritty storytelling and bluesy ‘70s nostalgia. Once again, it’s evident how much fun the band were having playing this stuff, but we were a long way from “Creeping Death” at this point. (DL)
65. The Struggle Within - 'Metallica' (1991)
When Metallica took their self-titled masterpiece out on the road in full a few years ago for an overseas tour, they played it back-to-front, kicking off with “The Struggle Within.” Despite being routinely overshadowed by most of its companions on ‘Metallica,’ it turned out to be a killer, lead-heavy opening salvo.
64. Dyers Eve - '...And Justice for All' (1988)
Ending their fourth album with a swivel-eyed eruption of rage, Metallica were still dedicated to thrash’s higher tempos at this point. Dyers Eve” is perhaps the last true thrash song the band ever wrote, and it’s one of their best: Hetfield’s incensed decrying of his parents’ religious mania makes every scything, high-velocity riff connect with maximum crunch. (DL)
63. King Nothing - 'Load' (1996)
The bluesy pretensions of ‘Load’ were not an unqualified success, but the album boasts several moments where the formula paid dividends. King Nothing” has some of the album’s strongest riffs and wouldn’t have been wildly out of place on Metallica. Meanwhile, extra points are awarded for some top-notch Hetfield vitriol. (DL)
62. The Frayed Ends of Sanity - '...And Justice for All' (1988)
One of the unsung highpoints of ‘...And Justice For All,’ “The Frayed Ends Of Sanity” now seems like a supremely prescient foretelling of the groove metal evolution to come. Despite the much bemoaned lack of Jason Newsted’s bass on the album, there’s a low-slung, bowel-rattling undertow to this eight-minuter that makes it a low-key fan favourite. (DL)
61. Dream No More - 'Hardwired... To Self-Destruct' (2016)
A welcome return to the Lovecraftian universe (see “Call Of Ktulu” and “The Thing That Should Not Be”), “Dream No More” is one of the heaviest songs Metallica had written in a long time; Hetfield’s double-tracked vocals and the malevolent ooze of the riffs conspiring to bring your worst nightmares to life. (DL)
60. The Outlaw Torn - 'Load' (1996)
“The Outlaw Torn” was one of few moments on Metallica’s sixth album that felt progressive and imaginative rather than knowingly simplistic. Nearly ten minutes in length (the original recording was chopped down from 11 minutes to fit onto a CD), it’s a bruising, brooding epic with lashings of uneasy atmosphere. (DL)
59. My Apocalypse - 'Death Magnetic' (2008)
As if to apologize for the preceding 10-minute instrumental calamity, ‘My Apocalypse’ is Metallica in fire-spitting rivethead mode, rolling back the years and revelling in the “last-one-to-the-end’s-an-asshole” spirit that drove them 30 years ago. Okay, it’s no “Metal Militia,” but it still kicks ass. (DL)
58. Now That We're Dead - 'Hardwired... To Self-Destruct' (2016)
No one could accuse Metallica of ignoring the mid-paced approach over the last twenty years, but ‘Hardwired… To Self-Destruct’ needed dynamics and the crunching menace of “Now That We’re Dead” provided them. Another great song that ensured that the album’s first half was all killer, no filler. (DL)
57. Leper Messiah - 'Master of Puppets' (1986)
Even surrounded by such wonders as “Master Of Puppets” and “Orion,” “Leper Messiah” exudes a charisma and dark charm all of its own. A textbook example of Metallica’s mastery of the mid-paced chug, the song takes aims at corrupt and duplicitous TV evangelists and, if we’re being honest, does a considerably better job of it than either Anthrax (“Make Me Laugh,” 1988) or Maiden (“Holy Smoke,” 1990). Praise be! (DL)
56. Escape - 'Ride the Lightning' (1984)
Memorably and pointedly covered by Hatebreed on their ‘For The Lions’ album in 2009, the least heralded song on ‘Ride The Lightning’ is far better than its reputation might suggest. Performed only once -- when the band played ‘Ride The Lightning’ in its entirety at the 2012 Orion Music + More Festival -- it’s an underrated song. The chorus is big, and is an early showing for Hetfield’s increasingly commanding voice, and its mid-tempo thrust brought a different texture to the revolutionary canvas of ‘Ride The Lightning.’ (DL)
55. Metal Militia - 'Kill 'Em All' (1983)
Metal’s extreme boundaries have been pushed in the past three decades since Metallica’s debut, yet “Metal Militia” still wields a strange and incomparable power. Both the most intense and brutal song on ‘Kill ‘Em All’ and a furious benchmark for the entire thrash movement, it hammered home Metallica’s core message of unity through heavy fucking metal and, gloriously, “The metalization of your inner soul!” Bring it on. (DL)
54. Motorbreath - 'Kill 'Em All' (1983)
In their early days, Metallica were a proud, punk-influenced blur of drunken madness. Motorbreath” summed up that chaotic, heads-down vibe, echoing Motorhead’s knucklehead clatter but (joyously) lacking any of Lemmy’s self-awareness. A pure shot of directionless adrenalin, aimed straight at the liver. (DL)
53. St. Anger - 'St. Anger' (2003)
If you can cope with the hideous clang of Lars’ snare drum, the title track of ‘St. Anger’ has weathered vastly better than the majority of the album. One of the album’s most coherent songs, it’s a blur of angularity, nimbly switched tempos and lyrical snot, replete with that “Fuck it all and no regrets!” call-back to the band’s early days. (DL)
52. The End of the Line - 'Death Magnetic' (2008)
Maintaining the momentum of “That Was Just Your Life,” this bellicose eight-minuter again confirmed that Metallica were once again happy to be a heavy metal band. With plenty of serrated-edge riffing and a definite hint of “Creeping Death” in its motoring gait, it gave the faithful plenty to cheer about. (DL)
51. Phantom Lord - 'Kill 'Em All' (1983)
The brooding, slavering dark horse of ‘Kill ‘Em All,’ “Phantom Lord” took Iron Maiden’s high-octane approach to metal to kamikaze levels of belligerence, demonstrating the supreme chemistry between Hetfield, Ulrich, Burton and Hammett across five breathless minutes. We’re still in the grey area between old school metal and bona fide thrash here, but it’s an exhilarating place to be. (DL)
50. The God That Failed - 'Metallica' (1991)
Slayer is the thrash band that’s most likely to criticize religion, but “The God That Failed” is a pretty brutal attack, likely inspired by James Hetfield’s mother’s death. A Christian Scientist, she suffered from cancer, but refused medical help, believing that God would heal her. In many ways, it’s Metallica’s most brutal and painful song. (BI)
49. Mama Said - 'Load' (1996)
Again, the most interesting moments on ‘Load’ are generally the ones that elicited the most horror from the old school contingent. Mama Said” is essentially an outlaw country tune, blessed with one of James Hetfield’s most personal lyrics and delivered with endearing subtlety by all concerned. An unsung gem. (DL)
48. 2x4 - 'Load' (1996)
Patently influenced by Metallica’s pals in Corrosion Of Conformity and all the better for it, “2x4” is one of the most convincing moments on ‘Load,’ not least because – perhaps surprisingly – the song’s lurching, shuffling beat and Sabbathian riffs suited the band’s newly stripped down ethos perfectly. (DL)
47. That Was Just Your Life - 'Death Magnetic' (2008)
Seven years on ‘St. Anger,’ Metallica had plenty to prove to much of their audience. Fortunately, ‘Death Magnetic’ began with this face-flaying return to the thrash metal arena. Hetfield’s internal riff machine was firing on all cylinders again and Kirk Hammett was permitted to solo at will. Just a few seconds in, it was clear that ‘Death Magnetic’ was an improvement on the previous album. (DL)
46. Ain't My Bitch - 'Load' (1996)
More than a nod towards ‘90s alt-rock, the opening track from ‘Load’ was a nod back to ‘70s southern rock. Ain’t My Bitch” sounded like Lynyrd Skynyrd on steroids. Had they released this as the first ‘Load’ single (and yeah, had they not all cut their hair), the media narrative around the band’s post-’Black Album’ return might have been a lot different. (BI)
45. Atlas, Rise! - 'Hardwired... To Self-Destruct' (2016)
Joy was unconfined when Metallica released this grandiloquent neck-wrecker on the world, effectively confirming that ‘Hardwired... To Self Destruct’ was going to be the album to unite embittered old school fans and beleaguered ‘Load’-lovers. Everything you want from a Metallica song is here, with some cheeky Maiden harmonies thrown in as an added bonus. (DL)
44. Fixxxer - 'ReLoad' (1997)
The final song from ‘Reload’ may have been overlooked, as it came at the end of the second part of a two-album cycle, which, combined, last about two and a half hours. (Recall that the band’s first three albums were each less than an hour in length.) An unholy combination of Black Sabbath and Lynyryd Skynyrd, this song features some of Kirk Hammett’s most interesting guitar work of the ‘96/’97 period. (BI)
43. '-Human - 'S&M' (1999)
The second of two original songs that the band wrote for their orchestral concerts, “-Human” is an underrated gem in the Metallica catalog. The lyric “You got to breathe, man, breathe: coming up for air!” is haunting, but also strangely motivating. (BI)
42. Frantic - 'St. Anger' (2003)
Other than ‘Lulu,’ ‘St. Anger’ is probably Metallica’s least commercial move. Rather than looking at it as an album to compare to, say, ‘Ride The Lightning’ and ‘Master Of Puppets,’ it may be more useful to think of it as something that James Hetfield needed to get off his chest. It was a bit too heavy, musically, for much of Metallica’s audience. And the lyrics were so heavy that it was almost uncomfortable to listen to them. In 2003, “You live it or lie it!” seemed like a strange lyric from one of the most consistently rock bands in the world. Today, we have a somewhat better understanding of the demons -- including depression -- that anyone can face, rich or poor. Here, Hetfield is confronting his, head on. (BI)
41. Spit Out the Bone - 'Hardwired... To Self-Destruct' (2016)
Now we’re cooking with gas! The final track on ‘Hardwired... To Self Destruct’ is both the album’s most exhilarating moment and the first time in decades that Metallica have sounded like they might burst through the speakers and punch you in the face. As an added bonus, all seven minutes are fully justified. A total ripper. (DL)
40. All Nightmare Long - 'Death Magnetic' (2008)
James Hetfield is, of course, responsible for most of Metallica’s lyrics, but here, it sounds like he may have been inspired by Kirk Hammett’s movie collection. "All Nightmare Long” would have inspired a much better film than, say, “Through The Never.” “All Nightmare Long” paints a picture of a post-zombie apocalypse that rivals ‘The Walking Dead.’ Of course, all zombie movies, starting with ‘Night Of The Living Dead,’ are metaphors for the real world. (BI)
39. Low Man's Lyric - 'ReLoad' (1997)
‘Load’ and ‘Reload’ have been mistakenly seen as Metallica trying to “go alternative.” And while they certainly were influenced by select Seattle bands (Soundgarden and Alice In Chains, particularly), their ‘96/’97 albums really represented Metallica breaking free of the restrictions of heavy metal. If they got anything from alternative music, it was the more general idea that guitar based bands shouldn’t be restricted by orthodox and outdated rules. Low Man’s Lyric” featured a violin and hurdy gurdy; it was much closer to Led Zeppelin ‘III’ than Oasis, the Verve or the Foo Fighters. (BI)
38. Until It Sleeps - 'Load' (1996)
Metallica were clearly impressed with Seattle’s Soundgarden and Alice In Chains, and those bands influenced them as they worked on the ‘Load’ album. Until It Sleeps,” in fact, owed a bit of a debt to Soundgarden’s “Fell On Black Days” (and James Hetfield certainly seemed inspired by Chris Cornell’s introspective lyrics, which would come into play in Metallica’s songs in the coming years). Metallica fans were bracing for something different with ‘Load’ - they’d already seen the photos of the band, all of whom had cut their long hair. Until It Sleeps” definitely was different, and a bit controversial when it was first released. Two decades later, it holds up to the discography. (BI)
37. Hardwired - 'Hardwired... To Self-Destruct' (2016)
No one was sure what to expect with Metallica’s follow-up to ‘Death Magnetic,’ but it’s safe to say that no one expected something that would have sounded at home on ‘Kill ‘Em All.’ “Hardwired” was the band’s shortest and thrashiest song in a long time, and proved that they were more than a legacy act: they still had something to add to metal in the 2010s. (BI)
36. I Disappear - 'Mission Impossible 2' Soundtrack (2000)
When unfinished versions of the song ended up on the internet, “I Disappear” led to Metallica’s battle with Napster; it also led to them going from one of the most beloved bands to one of the most reviled, at least for a time. Metallica arguments about their battle with the website hold up pretty well, and so does the song that inspired the fight. I Disappear” would hold up alongside the highlights of ‘The Black Album.’ (BI)
35. No Leaf Clover - 'S&M' (1999
It’s one thing to be able to adapt thrash metal songs to play them with an orchestra, as Metallica did for the live ‘S&M’ album. It’s another to write a song designed to be a collaboration with an orchestra. No Leaf Clover,” featuring one of Hetfield’s best and most devastating lyrics - “Then it comes to be that the soothing light at the end of your tunnel/Was just a freight train coming your way - works amazingly well. It’s a testament both to Metallica and the composer/arranger, Michael Kamen, who collaborated with them on the ‘S&M’ album. (BI)
34. To Live Is to Die - '...And Justice for All' (1988)
A final writing credit for Cliff Burton and an unapologetic tribute to his extraordinary talent, “To Live Is To Die” is arguably the most experimental thing Metallica have ever recorded (assuming, of course, that we are pretending that ‘Lulu’ never happened). Elaborate and immersive and yet still heavy as hell, it’s a truly magical piece of music. (DL)
33. Nothing Else Matters - 'Metallica' (1991)
“Nothing Else Matters” is simultaneously the most commercial and one of the most shocking songs in Metallica’s catalog. It’s a ballad about love that Hetfield wrote as an indulgence; he had no intention of recording it. Luckily, Lars Ulrich convinced him that it was, in fact, a Metallica song. Most metal bands were falling over themselves to write love ballads by the early ‘90s. Metallica tried to resist doing that, tooth and nail. The fact that this song even exists is a testament to its honesty -- or as Hetfield sings, “Couldn’t be much more from the heart.” That’s why it’s resonated for over a quarter of a century. (BI)
32. (Anthesthesia) Pulling Teeth - 'Kill 'Em All' (1983)
Such was the cruel brevity of Cliff Burton’s creative life that “(Anesthesia) Pulling Teeth” has become far more than just a brilliant bass solo. A dazzling but rough-hewn showcase for the late, great musician’s phenomenal talents, it remains an infuriating but cherishable reminder of what might have been. (DL)
31. Ride the Lightning - 'Ride the Lightning' (1984)
Striding away from writing songs about getting drunk, Metallica’s second album gave the band the opportunity to flex all their muscles, both musical and lyrical. The title track’s harrowing tale of death by electric chair eschewed grinning schlock in favour of genuine menace, perfectly echoing the dark squall of those ageless riffs. (DL)
30. Jump in the Fire - 'Kill 'Em All' (1983)
Another Dave Mustaine co-write, “Jump In The Fire” was the most obvious single from ‘Kill ‘Em All,’ despite its pulsing rhythm and hard rock gait setting it apart from its more vicious, grandiose counterparts. Early evidence of Metallica’s mastery of the killer chorus, it’s one of their debut album’s most potent secret weapons. (DL)
29. Harvester of Sorrow - '...And Justice for All' (1988)
The most straightforward cut on Metallica’s proggiest album, “Harvester Of Sorrow” showcases Hetfield’s formidable rhythm guitar skills and captures a newly re-tooled line-up clicking into the higher gear they so sorely needed. Chuck in that “Anger! Misery! You’ll suffer unto me...” hook, and it’s no wonder the band still frequently play this live. Play it loud and your head will bang. (DL)
28. Orion - 'Master of Puppets' (1986)
Widely seen as Cliff Burton’s majestic swansong, “Orion” presaged the progressive direction Metallica would take on ‘...And Justice For All’ two years later, via eight-and-a-half minutes of gently exploratory and wildly atmospheric heaviness. When Cliff emerges from the fog at the four-minute mark, your heavy metal spine will tingle like a bastard. Guaranteed. (DL)
27. The Call of Ktulu - 'Ride the Lightning' (1984)
Perhaps even more so than the equally venerated instrumental “Orion,” “The Call Of Ktulu” encapsulates the feverish, limitless creativity that drove Metallica in their early days. A towering instrumental with more golden moments than most bands manage across entire albums, its epic summoning of Lovecraftian bad vibes provided the perfect finale for an epoch-shattering collection of songs. (DL)
26. The Four Horsemen - 'Kill 'Em All' (1983)
Co-written by Hetfield, Ulrich and Dave Mustaine, this was Metallica’s first imperious epic. In stark contrast to their former guitarist’s speed-fuelled take on the same riffs (“Mechanix,” from Megadeth’s ‘Killing Is My Business’ debut), “The Four Horseman” bears clear traces of the Diamond Head and Sabbath records that the young band had pored over in their recent past. More importantly, it was the sound of an entire genre being redefined. (DL)
25. Trapped Under Ice - 'Ride the Lightning' (1984)
The mind-bending first half of ‘Ride The Lightning’ has unavoidably overshadowed the quality of its second, but “Trapped Under Ice” just about justifies its inclusion on such a revered masterwork. A straightforward thrash metal ground-pounder, it delivered the breakneck goods and cheered up a few petulant fans who were unhappy about “Fade To Black” being, you know, a fucking ballad! (DL)
24. Eye of the Beholder - '...And Justice for All' (1988)
One of the great strengths of ‘...And Justice For All’ is its seamless blend of the intricate and the memorable: “Eye Of The Beholder” is a nimble but largely mid-paced frenzy of chugging fury, replete with one of Kirk Hammett’s best (and oddest) solos and an understated but insistent chorus. Like most of ‘...And Justice For All,’ it’s a blur of brilliant ideas, skilfully executed. (BI)
23. No Remorse - 'Kill 'Em All' (1983)
Metallica’s early albums are full of incendiary slogans, custom-built to engage audiences and maximise the impact of those incisive riffs. The “War without end!” hook is up there with the best of them. Meanwhile, the song itself is a lurching, speed metal powerhouse. (DL)
22. Sad But True - 'Metallica' (1991)
It’s like the riff from the prior album’s “Harvester Of Sorrow” on steroids, this mid-paced rocker was another AC/DC-inspired jam, but with much more angst. In 1991, the times were changing, in large part (but not completely) due to Nirvana’s ‘Nevermind,’ which was released just weeks after ‘The Black Album.’ “Sad But True,” while a bit more muscular than the music that followed in Kurt Cobain’s wake, was one reason that Metallica still fit in with rock music’s zeitgeist. (BI)
21. Bleeding Me - 'Load' (1996)
One of the highlights of Metallica’s most underrated album, ‘Load.’ Here, James Hetfield takes a long hard look at himself, and doesn’t like what he sees. And he tries to improve. This is an early step on the journey that culminate with the scream therapy of ‘St. Anger.’ “Bleeding Me” is what sets him apart from the lyricists from the other great metal bands: Harris, Halford, Butler didn’t write about themselves with such unflinching honesty. (BI)
20. Blackened - '...And Justice for All' (1988)
Metallica could easily have made the transition to more succinct, commercial fare on their fourth album: they were certainly hot favourites to rule the world by 1988. Instead, they began the follow up to ‘Master Of Puppets’ with this raging, angular, unrelenting slab of prog-tinged thrash that boasts an insane abundance of killer riffs and a chorus to die for. (DL)
19. The Unforgiven - 'Metallica' (1991)
For those fans that found “Fade To Black” a little too ballad-like for their tastes, the spaghetti western vibes and elegiac acoustic guitars of “The Unforgiven” were almost certainly the final straw. For everyone else – and that’s a shitload of people – it was one of the finest songs the band had written: an austere but emotionally supercharged hymn to the outcast. (DL)
18. The Day That Never Comes - 'Death Magnetic' (2008)
The first single from ‘Death Magnetic’ saw Metallica in misty-eyed and moody mode, taking the slow-burn approach to the album’s overall return-to-roots vibe. Some killer Hammett lead work, a “Fade To Black”-saluting picked guitar intro and a thunderous chorus all contribute to one of the album’s peaks. (DL)
17. Disposable Heroes - 'Master of Puppets' (1986)
Often overlooked in favour of the iconic title track from ‘Master Of Puppets,’ “Disposable Heroes” is one of the grand achievements of the Cliff Burton era. Mercilessly disciplined in its precise, syncopated riffing, it amounted to an eight-minute upgrade for the whole thrash ethos, replete with subtle time signature tricks, a rousing yob chorus (“Back to the front!”) and one of Hetfield’s most incensed vocal performances -- and another one that serves as a powerful anti-war anthem. (BI)
16. Moth Into Flame - 'Hardwired... To Self-Destruct' (2016)
Let’s face it: the knives are out for Metallica whenever they release a new album. To be fair, they have one of the most difficult tasks in metal: how does Metallica, a quartet of stadium headlining multi-millionaires, come up with a song that holds up to their incredible legacy? They did it a few times on 2016’s ‘Hardwired… To Self-Destruct,’ most notably with this song. Somewhat surprisingly, it’s inspiration is the late soul singer Amy Winehouse. Her story seemed to shake Hetfield: an artist getting caught up in her own fame, and dying far too young. (BI)
15. One - '...And Justice for All' (1988)
By 1988, it wasn’t unusual to see hard rock or metal bands crossing over to a more mainstream audience via a ballad. Most of those ballads weren’t about a World War I soldier who lost his arms, legs and face blown off. Based on the 1971 film ‘Johnny Got His Gun’ and the 1939 novel that it was based on. Metallica may have had the ambition to become the world’s biggest heavy metal band, but they were going to do it their way. One” remains a classic metal song and, beyond that, one of the greatest anti-war anthems (along with Black Sabbath’s “War Pigs”). (BI)
14. And Justice for All - '...And Justice for All' (1988)
Although Metallica would turn away from lengthy epics on their next album -- and James Hetfield’s lyrics would seem to do a 180 with “Don’t Tread On Me” -- the epic title track to 1988’s ‘...And Justice For All’ has stood the test of time as a classic that combines thrash metal, prog-rock influences and politically charged lyrics. Indeed, lyrically, the song holds up remarkably well, and, in 2018, almost seems prescient. (BI)
13. Enter Sandman - 'Metallica' (1991)
“Fade To Black” and “One” proved that Metallica could appeal to a wide audience by slowing down, but “Enter Sandman” is really the song that primed them for world domination: it was a full-on rocker that seemed to win everyone over. By 1991, the traditional metal world was evolving: Guns N Roses’ debut ‘Appetite For Destruction’ had changed the game in 1987, bringing a punk grittiness to the mainstream. After that, a herd of alternative bands led by Jane’s Addiction were bringing loud guitar-based music in new directions. Metallica’s response was to go back to basics, AC/DC style, with a stripped down raging hard rock anthem: “Enter Sandman.” According to Setlist.fm, the band has played the song 1,300 times, and many rock fans have probably heard the song at least that many times in their lives. But like many classic rock gems - “Smoke On The Water,” “Stairway To Heaven,” “You Shook Me All Night Long - if you keep away from “Enter Sandman” for about a year, and then go back to it, you’ll be stunned by what a great song it is, and how well it holds up to Metallica’s incredible catalog. (BI)
12. Whiplash - 'Kill 'Em All' (1983)
Metallica started their career with a very clear vision of what they wanted from heavy music. Whiplash” may sound primitive now, compared to “Master Of Puppets” et al, but in 1983 it sounded like a chrome-plated juggernaut ploughing through your front room. Never has “acting like a maniac” seemed like such an attractive proposition. Whiplash!” (DL)
11. Fight Fire With Fire - 'Ride the Lightning' (1984)
From its elegant intro to the churning fury of its central riff, “Fight Fire With Fire” confirmed that Metallica were evolving at a terrifying rate, leaving their peers spluttering in their creative wake. This was already thrash metal 2.0: progressive in intent but still firmly rooted in metal’s grand songwriting tradition. As a bonus, it will still punch your head off today. (DL)
10. Battery - 'Master of Puppets' (1986)
After reinventing an entire genre on ‘Ride The Lightning,’ Metallica needed to make a huge statement on their third album. So they did. Indisputably only one of the greatest album openers of all time, Battery sounds exactly like the soon-to-be biggest heavy metal band on Earth needed to: monstrous, unstoppable, ruthlessly precise and smart as hell. (DL)
9. Welcome Home (Sanitarium) - 'Master of Puppets' (1986)
Having haughtily delivered their first ballad with “Fade To Black,” Metallica repeated the trick on this haunting first-side-closer from ‘Master Of Puppets.’ Kicking off with one of those sublime, understated solos that Kirk Hammett seemed to peel off at will, it’s a slow-burning exercise in gritty grandeur, as the song’s subject descends into madness amid a storm of anthemic riffs and spiraling harmonies. (DL)
8. Fade to Black - 'Ride the Lightning' (1984)
The fourth song on ‘Ride The Lightning’ was the first indication that Metallica didn’t always need to be the heaviest band in the land. Like Black Sabbath, they saw value in the contrasting dynamics of loud and soft, dark and light. Fade To Black,” which remains one of James Hetfield’s most moving lyrics, connected with young metalheads worldwide. Whereas other metal songs were more like watching horror or sci-fi movies, “Fade To Black” hit close to home for many, and was way ahead of its time in giving voice to depression, something that many metalheads and other outcasts often dealt with, and still deal with. Probably not coincidentally, this was the first Metallica song that began reaching outside of the metal underground to larger audiences. Metallica’s world domination begins here. (BI)
7. The Thing That Should Not Be - 'Master of Puppets' (1986)
Another slab of Lovecraftian terror, this time with sinister lyrics from an increasingly eloquent James Hetfield, “The Thing That Should Not Be” kept the Sabbathian spirit alive, even as Metallica began to outgrow their formative influences. Brutally heavy, perfectly paced and hissing with nefarious intent, it’s a dark as the Lovecraft’s 1936 novella ‘Shadow Over Innsmouth’ itself. (DL)
6. Creeping Death - 'Ride the Lightning' (1984)
Six minutes of heroically brutish fire and fury, “Creeping Death” became just about everybody’s new favourite Metallica song when it first emerged in 1984. Deftly conjuring the grandiloquent, Biblical insanity of godly genocide via riffs of unfathomable power, it was the sound of a band suddenly realising the full extent of their powers. Warning: do not listen to this song while driving. (DL)
5. Seek and Destroy - 'Kill 'Em All' (1983)
One of those riffs that is guaranteed to elicit roars of approval from metal audiences across the globe, the opening motif of “Seek And Destroy” and its drawn-out, mid-paced intro are simply a master class in the power of heavy metal. Still a staple in the band’s live sets, it’s an immortal anthem that does everything a great heavy metal song should do. (DL)
4. Master of Puppets - 'Master of Puppets' (1986)
Often cited as the greatest heavy metal song of all time – and only Maiden’s “Hallowed Be Thy Name” is one of the only likely challengers – “Master Of Puppets” confirmed that Metallica were smashing all-comers and were more than ready to usurp their heroes and conquer the entire world. It’s still a breath-taking piece of music, 32 years later. (DL)
3. For Whom the Bell Tolls - 'Ride the Lightning' (1984)
By ‘Ride The Lightning,’ Metallica were on fire. For Whom The Bell Tolls” was an instant classic, an immediate live favourite and undeniable proof that the band were operating on a higher level than any of their peers. The heaviness of the riffs still takes the breath away, and seldom have melodic hooks been sharper or more devastating. A certified monster. (DL)
2. Hit the Lights - 'Kill 'Em All' (1983)
It’s impossible to sum up the impact made by the opening track on Metallica’s debut album, but anyone that thrilled to Hetfield’s rallying cry of “No life ‘til leather...” in 1983 will still be a guaranteed mess of goosebumps hearing it 35 years later. Hit The Lights” laid down the band’s fast and furious blueprint and with snotty intensity. Metal would never be the same again. (DL)
1. Damage, Inc. - 'Master of Puppets' (1986)
Living up to its title in no uncertain terms, the final track on ‘Master Of Puppets’ threw down a gauntlet to everyone else in the metal world. Other bands may have been faster or more self-consciously “evil,” but when Metallica tore into “Damage, Inc,” metalheads around the world knew that they were listening to the genre’s new masters. (DL)